Perhaps fearful of their own evolving culture, Oscar voters this year have celebrated films about men coming to terms with their age and growing irrelevance
Perhaps fearful of their own evolving culture, voters this year have celebrated films about men coming to terms with their age and growing irrelevance.’s most heart-pumping moment is not its twisty second-act reveal, a slapstick rush to conceal deceit or a chaotic spurt of violence. These elements, of course, render Bong Joon Ho’s Oscar-nominated tragicomedy a wild and thrilling film.
The wife asks if it’s "poor people" smell, or "old people" smell. "No, no," her husband replies. "How should I put it — maybe the smell of an old radish pickle? Or that smell when you’re washing a dirty rag?" I immediately felt as crushed as the humiliated chauffeur. Later, when Ki-taek notices his employer reacting to the stench of a worse-off victim of the class wars, his pent-up anguish culminates in a bloodletting frenzy.
In my mind, it’s no coincidence that the Academy of Motion Picture Arts and Sciences — a voting body that, as of December, is 68 percent male and 84 percent Caucasian — chose to canonize these particular films while virtually ignoring other critically lauded films such as
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